I just wait until [my subject] appears, which is often where I happen to be. Might be something right across the street. Might be something on down the road. And I’m usually very pleased when I get the image back. It’s usually exactly what I saw. I don’t have any favorites. Every picture is equal but different.—William Eggleston

This exhibition comprises twenty-eight large-scale pigment images from the Los Alamos series, printed from vintage negatives. Some images were first printed in the early 2000s as dye transfers. Others have never been seen before. Eggleston shot them on the road between 1966 and 1974 in the Mississippi Delta, New Orleans, Las Vegas, Los Angeles, Los Alamos, and other locations across the United States, naming the Los Alamos series after the laboratory where atomic weapons were developed. In the intimate portraiture and stark landscapes, the profound influence of his aesthetic on contemporary image-making is plain. His self-professed “democratic camera” seeks out spontaneous moments of aesthetic exception—a neon light glowing piercingly in a darkened motel room; the back of a smooth, perfectly arranged grey updo; a collection of dolls; a gawky young man pumping gas.